Just by way of an introduction to this CD here are some
words from the composer, written in August 2016: “I am a comparative
latecomer to writing instrumental music, having devoted most of my creative
life to choral and vocal composition. The works on this album are all
written over the last decade, with the exception of my Violin Concerto
which plunders material from an incomplete Violin Sonata written when
I was eighteen. As well as the Violin Concerto this album includes:
my darkly chromatic Clarinet Quintet, The Better Angels of our Nature,
a short concerto for oboe and strings; and Goodfellow for flute,
oboe and piano. They are presented chronologically and I hope the listener
will detect a logical sequence in their development” I reviewed
an earlier release (NIMBUS NI6274) of Richard Blackford’s unusual
The Great Animal Orchestra Symphony and found the music to
be atmospheric, dramatic and populist in its approach. This CD offers
more of the same - although not to be classed as “easy listening”
the composer has the enviable knack of making an immediate impact on
the listener and his approachable music can be enjoyed on its first
hearing.

The Violin Concerto opens with a trumpet solo that has an American feel
to it. Some passages are also reminiscent of Copland and Barber with
just a hint of Walton thrown in for good measure. The central Andante
is the most substantial movement, running for 10 minutes. With the subtitle
Fantasia on a Russian Chant this features the solo violin accompanied
by the string section of the orchestra. The melodic material may be
Russian in origin but the overall impression sounds as if the composer
has been inspired by the English string music tradition. Vaughan Williams
isn’t far away and the rapture of Tippett’s Corelli
Fantasia can be heard in the chromatic harmonies produced by the
divided strings. The opening to the final Vivace is reminiscent
of folk music but this is Hungarian in nature rather than British. A
rather beautiful, lyrical theme at the centre of the movement gives
way to a cadenza and an exuberant sprint to the finish.

Although not strictly programme music, the three movements of the Clarinet
Quintet are inspired by scenes from Caradog Prichard’s novel
Full Moon. A soft lyrical theme links the three movements together.
The second movement also makes use of the Welsh hymn tune Cyffamod
with telling effect. The lively outer movements are bittersweet in nature
and the music, pregnant with ideas, always sounds as if it is going
somewhere. The Better Angels of our Nature is another demonstration
of the composer’s ability to write for the strings. The first
section of this concerto is based on fanfare motifs, initially heard
as distant cries and then building to a dynamic, fleetfooted Allegro.
After a brief climax the oboe plays a hushed version of the bugle call
Taps that is traditionally used at funerals or at sunset. The
ensuing section of peace and reconciliation is elegiac and creates the
sort of atmosphere that can also be heard in Copland’s Quiet
City. The last work on the disc, Goodfellow (aka Puck)
is certainly Puckish in nature. The music is mischievous, entertaining
and lively. There are also some passages of trance-like magic. The romantic
duet for oboe and flute in the first movement is superb. You can’t
keep a good man down for long though and Puck returns with a vengeance
in the Allegro moltobringing the work to a quicksilver conclusion.

This is a really enjoyable disc containing four memorable and entertaining
pieces. The performances are all expertly done with fine contributions
from the soloists. Although recorded at four different venues between
2008 and 2015 the sound quality is consistently fresh and appealing.